21:T492,

Researchers have turned to comics as outputs incorporating their research findings. These comics are print and/or online publications that can lead to the wider adoption of research and enhance educational practices, widen public engagement, and improve the possibilities for research to influence public policy.

This article presents an interview with Professor Katy Vigurs about Higher Fees, Higher Debts: Greater Expectations of Graduate Futures?, a comic based on a research report produced for the Society for Research into Higher Education (2016).

In order to contextualize the interview, this article also provides an introduction to non-fiction comics research, and concludes with reflections on comics as a way of doing research. This article seeks to document and encourage further knowledge-exchange between the higher education sector and comics practitioners, and between researchers using comics in their research or as a means to disseminate their own research and those scholars who research comics as their main object of study.22:T439,

Translated editions of Katsuhiro Ōtomo’s manga Akira played an important role in the popularisation of manga in the Western world. Published in Japan between 1982 and 1990, editions in European languages followed as soon as the late 1980s. In the first US edition (Epic 1988–1995) the originally black and white manga was printed in colour and published in 38 issues, which were designed not unlike typical American comic books. The first German edition (Carlsen 1991–1996) marked the beginning of Carlsen’s manga publishing efforts. It was based on the English-language edition and also printed in colour, and combined two American issues in one.

This article analyses the materiality of these two translated editions with a focus on three main issues – the mirroring (or ‘flipping’) which changes the reading direction from right-to-left into left-to-right, the colouring of the originally black and white artwork, and the translation of different kinds of script (sound effects, speech bubble text, and inscriptions or labels)23:T46a,

What are digital comics? The answers to this question are diverse and often contradictory. Since digital comics were first published in the 1990s, it has not always been possible to gather them under a common denominator, apart from what already defines (with difficulty) printed comics. Many digital comics frequently resort to skeuomorphism, a digital reproduction of printed comics’ most salient aspects. This shows a deference of digital comics to print: some scholars see in digital comics only a technological variation of pre-existent means of distribution.

Should digital comics move away from print to earn their own place? Are digital comics lacking a masterpiece that could establish their legitimacy? Should they exploit the potentialities of digital art and offer interactivity, moving images, new formats to gain their independence? This article argues that asking these questions is to try to reconcile the disparities of digital comics and see how scholars, cartoonists and publishers all try to give digital comics a specific status, for different reasons, but sharing a common goal.24:T4b0,

Motion can be depicted using literal pictorial devices (representing features present in the real world) and metaphorical pictorial devices (representing features that do not occur in the real world). How are literal and metaphorical pictorial devices used in comic book cover art? We analyzed the pictorial devices used to depict the motion running in 400 Silver Age (1956–1971) and Bronze Age (c. 1970–1985) superhero comic book covers (Frankenhoff & Thompson, 2012). Literal devices (such as arm and leg positions) were used additively; that is, artists preferred to use m

#	Concept	H-Index	Publications	Citations
1	Arts	6	6	152
2	Education	2	2	49
3	Language Studies	2	2	31
4	Engineering	1	1	11
5	Humanities	1	1	12

	Year	Citations

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